|
Marianne Schuppe continues to reimagine songs and their relation to tone and melody, here in a series of 11 songs realized with voice, lute, and uber bows, creating delicate accompaniment to her lucid movements between pure sound and words, singing and speaking her lyrics of succinct phrases rich in subtle intimation and evocative imagery; beautiful. |
|
In Stock Shipping Weight: 2.00 units Quantity in Basket: None Log In to use our Wish List
product information:
UPC: 4011778040989 Label: Edition Wandelweiser Records Catalog ID: EWR 1802 Squidco Product Code: 25912 Format: CD Condition: New Released: 2018 Country: Germany Packaging: Cardstock 3 page foldover in vinyl sleeve Recorded November 20-22, 2017, Nikolaikapelle, Bardowick Personnel: Marianne Schuppe-voice, lute, uber bows Click an artist name above to see in-stock items for that artist. Highlight an instrument above and click here to Search for albums with that instrument.
Artist Biographies: • Show Bio for Marianne Schuppe "Marianne Schuppe is a singer, writer and composer working across music and language. She continually develops her work through improvisation, performance and writing. Her prime interest lies in the voice's ability to move between pure sound and words as well as in multilinguism. She studied visual arts and music in Hildesheim/Germany and extendeded her vocal studies in South India (Kalakshetra Academy), Switzerland (Jolanda Rodio) and Italy (Michiko Hirayama). She often works solo, but also collaborated with composers Caroline Wilkins, Roland Dahinden, Michael Maierhof, Hans-Jürg Meier, Antoine Beuger and with ensembles such as Klangforum Wien, Ensemble Phönix Basel and Basel Sinfonietta. As an improvisor she collaborated in various formations and plays presently with Alfred Zimmerlin in duo. In the context of visual arts and performance, partners were Dorothea Schürch, Andrea Wolfensberger, Renée Levi, Dias&Riedweg among others. She took part in radioplays, -features and -discussions and published several essays about here observations of voice and singing. As a soloist she recorded the vocal-cycles of Giacinto Scelsi (New Albion 2006), Three Voices by Morton Feldman (col legno 2007) and her own works (edition wandelweiser). Further recordings with ensembles were released with variuos labels. She teaches singing and improvisation at various institutions, worked as a voice- teacher in Germany, Switzerland and Japan and is a guest-lecturer at FHNW University of Music in Basel. This practical experience has led to the development of individual projects with people and voices and resulted in several commissioned works. She lives in Basel, where she curates a concert series as president of the IGNM Basel." -Marianne Schuppe Website (http://www.marianneschuppe.com/cv)7/28/2021 Have a better biography or biography source? Please Contact Us so that we can update this biography. ^ Hide Bio for Marianne Schuppe
track listing:
1. The 2:15 2. Other 2:36 3. April 3:03 4. Calling 6:48 5. Any 2:15 6. Here 2:23 7. In 1:58 8. Fingers 5:35 9. With 3:19 10. Bedenck 3:16 11. Still 2:34 |
sample the album:
"Good news: another album of music by Marianne Schuppe has arrived! The Basel-based singer and composer's previous collection slow songs remains a favourite of mine three years after its release, and the title of her new record, nosongs, suggests an even more reduced approach to the song form. Will she be able to uncover even greater riches in the spaces between silence, voice, and uber-bowed lute, or will it prove to be a case of a reduction too far? In what ways can 'slow songs' become 'nosongs', anyway? Is a 'nosong' the same thing as no song? For me, one of the tendencies of slow songs that finds even fuller expression on the new album is the radical deconstruction or reconfiguration of melody. It is easy to think of melody as a continuous thread, a teleological drive from point A to point B that can easily be traced and recalled in the mind of the listener. Such threads are hard to discern in slow songs, and the task is even harder in its follow-up, like trying to track footprints when snowfall and snowdrift have partially obscured them. Rather than running from point to point, Schuppe's melodies often seem to circle; this is not just a matter of repetition (though this does occur); rather, there is a succession of shapes that seem similar and related, without being identical, in the manner of the crests of a mountain range. The frequent returns to silence underscore this deconstruction; melodic phrases are discontinuous in time, but grouped together in a silent landscape by virtue of a formal kinship. This approach to melody decentres and destabilises the singer: that figure who is so often front and centre of the picture, a reliable guide along a continuous melodic path, now appears only in fleeting glimpses and partial views. Schuppe's biography describes her as being interested in the voice's ability to move between pure sound and words, and this interest is very much evident in "nosongs". Diction, duration, timbre, and mouth shape are all variables she plays with. Often, every vowel and consonant is clearly and precisely articulated, sometimes even to the detriment of the intelligibility of the word; at other times, a word or vowel sound dissolves into an illiterate hum, melding with the soft, resonating uber-bowed lute. The lyrics, as far as I can discern them, seem as deconstructed as the melodies that carry them: images flash with dazzling clarity, but linking them together into sentences, ideas, or narratives is fraught with uncertainty. Six fingers, tiny raccoons, snow, sidewalks, forgetfulness, arrest: sequences found in the landscape of some other game. Given such a radical re-weighing of all the traditional ingredients of a song, what allows these 'nosongs' to still be called songs? Perhaps it is the presence of Schuppe herself, which, refracted and sometimes elusive as it is, remains tangible, in the silences as much as the sounds. "nosongs" takes the ideas and qualities of Schuppe's previous work and distils and refines them into an even more potent brew. These most tenuous of songs are also song at its most compelling."-Nathan Thomas, Fluid Radio Nosongs Steam snow bridles folding out umbrellas their last ticket to ride in the foggy snow bedenck just a place to dissolve within some imaginary pond names in landscapes as they pretend to wake up bedenck similarities sequences followed by rainspells spelled in the landscape of some other name wait yet see the stream clay runs across the field in light for primarily to wait for embedded natures coasts climb in soft stones knowing other reasons for adroitly characters are seeming ready torn with between nutshells clarifying it's just April calling farby with soar bits filing files for us and seagulls trembling for the stumbling woman on the stone pavement laughing into the perfect jar niemand ist ein Brotpilot gesterns Ornamente bereiten es vor ohne eine zweite Zeit falling inside a restless preview seing the fly in the purpleness assuming it's not just arranged remembering it is not rememberable anxiousless adressing as she goes by means with different sides of playing ball with receptions of caring about economics rare earth to be selected throughout the year of common exchange within the alphabet feed me bits and kinds of cloudyness runs through growing moss see that flying ball still up in the air came in here from sidedoors following a tiny racoon seeing words in sidelines walking seawhile to paste a horseshoe plein forgetfullness streaming current heading seaward isn't that eye to be rested wondering still while riders in cars put kids in observation of people with calling fingers shadowing eyelight waiting sidewalks till the possibility of another side comes up by motion steam snow bridles folding out umbrellas their last ticket to ride in the foggy snow on her forehead derzeit mit Stern im Gras der Gelegenheiten on the moory lane blossoms with six fingers faces faces facing north rooted in a triangle steht's auf der Spitze leaving assets pouring rains fairly well speaking waters rinsing leaves as they will be or find inserted picking spoonfulls of blind capres of cypris piecing them in sheets of mild paper guarded by a spotted lady with uncalm eyes harboured with skies a second sky rolls over the edge bedenck just a play to dissolve within some imaginary pond names in landscapes as they pretend to wake up bedenck similarities sequences followed by rainspells found in the landscape of some other game when I see what is spelled opposite like oceans are as they ferried places occupations even in ferry boats within the wiped out sight is it still only wind • Show Bio for Marianne Schuppe "Marianne Schuppe is a singer, writer and composer working across music and language. She continually develops her work through improvisation, performance and writing. Her prime interest lies in the voice's ability to move between pure sound and words as well as in multilinguism. She studied visual arts and music in Hildesheim/Germany and extendeded her vocal studies in South India (Kalakshetra Academy), Switzerland (Jolanda Rodio) and Italy (Michiko Hirayama). She often works solo, but also collaborated with composers Caroline Wilkins, Roland Dahinden, Michael Maierhof, Hans-Jürg Meier, Antoine Beuger and with ensembles such as Klangforum Wien, Ensemble Phönix Basel and Basel Sinfonietta. As an improvisor she collaborated in various formations and plays presently with Alfred Zimmerlin in duo. In the context of visual arts and performance, partners were Dorothea Schürch, Andrea Wolfensberger, Renée Levi, Dias&Riedweg among others. She took part in radioplays, -features and -discussions and published several essays about here observations of voice and singing. As a soloist she recorded the vocal-cycles of Giacinto Scelsi (New Albion 2006), Three Voices by Morton Feldman (col legno 2007) and her own works (edition wandelweiser). Further recordings with ensembles were released with variuos labels. She teaches singing and improvisation at various institutions, worked as a voice- teacher in Germany, Switzerland and Japan and is a guest-lecturer at FHNW University of Music in Basel. This practical experience has led to the development of individual projects with people and voices and resulted in several commissioned works. She lives in Basel, where she curates a concert series as president of the IGNM Basel." -Marianne Schuppe Website (http://www.marianneschuppe.com/cv)7/30/2018 Have a better biography or biography source? Please Contact Us so that we can update this biography. ^ Hide Bio for Marianne Schuppe Get additional information at Fluid Radio UK
Compositional Forms Unusual Vocal Forms Song Based Music Stringed Instruments Electronic Forms Solo Artist Recordings New in Compositional Music |
